Morten Lauridsen
Madrigali
Six 'Firesongs' on Italian Renaissance Poems for SATB (divisi) Chorus unaccompanied
Morten Lauridsen
Madrigali
Six 'Firesongs' on Italian Renaissance Poems for SATB (divisi) Chorus unaccompanied
- Besetzung Gemischter Chor (SATB)
- Ausgabe Noten
- Komponist Morten Lauridsen
- Verlag Faber Music
- Bestell-Nr. 0571522173
inkl. MwSt.,
zzgl. Versand
Voraussichtliche Lieferung zwischen
13.11.2026
und
17.11.2026.
Beschreibung:
SATB Accompanied (CPS)
Morten Lauridsen is most noted for his vocal cycles and sacred motets, which are performed extensively throughout the world. He is Professor of Composition at the USC Thornton School of Music in the United States. The Madrigali: Six 'Fire Songs' on Italian Renaissance poems were premiered in Los Angeles in 1988. Each of the six poems in the cycle contains romantic references to fire and the music is unified by manipulations of a sonority called the 'Fire-Chord', which opens the piece and is found extensively throughout. Stylistic features of Italian Renaissance madrigals - including word painting, modality, bold harmonic shifts, intricate counterpoint and augenmusik - are blended within a contemporary compositional idiom. The Madrigali are designed in an overall arch form, with the 'Fire-Chord' returning in its original configuration in the last movement - the final cadence is left unresolved, as the love of which the poet speaks will forever remain unrequited.
Morten Lauridsen is most noted for his vocal cycles and sacred motets, which are performed extensively throughout the world. He is Professor of Composition at the USC Thornton School of Music in the United States. The Madrigali: Six 'Fire Songs' on Italian Renaissance poems were premiered in Los Angeles in 1988. Each of the six poems in the cycle contains romantic references to fire and the music is unified by manipulations of a sonority called the 'Fire-Chord', which opens the piece and is found extensively throughout. Stylistic features of Italian Renaissance madrigals - including word painting, modality, bold harmonic shifts, intricate counterpoint and augenmusik - are blended within a contemporary compositional idiom. The Madrigali are designed in an overall arch form, with the 'Fire-Chord' returning in its original configuration in the last movement - the final cadence is left unresolved, as the love of which the poet speaks will forever remain unrequited.
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Ov`e Lass Il bel Viso?
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Quando son Piu Lontan
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Amor, Io Sento L`Alma
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Io Piango
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Lusi Serene e Chiare
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Se per Havervi, Oime
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